What color is Tuesday? Exploring synesthesia - Richard E. Cytowic

1,803,203 views ใƒป 2013-06-10

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

00:00
Translator: Andrea McDonough Reviewer: Jessica Ruby
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ืชืจื’ื•ื: Zeeva Livshitz
00:14
Imagine a world
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ื“ืžื™ื™ื ื• ืขื•ืœื
00:15
in which you see numbers and letters as colored
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ื‘ื• ืืชื ืจื•ืื™ื ืžืกืคืจื™ื ื•ืื•ืชื™ื•ืช ื›ืฆื‘ื•ืขื™ื
00:17
even though they're printed in black,
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ืืคื™ืœื• ื›ืฉื”ื ืžื•ื“ืคืกื™ื ื‘ืฉื—ื•ืจ,
00:19
in which music or voices trigger a swirl
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ื‘ื• ืžื•ื–ื™ืงื” ืื• ืงื•ืœื•ืช ื’ื•ืจืžื™ื ืœืžืขืจื‘ื•ืœืช
00:21
of moving, colored shapes,
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ืฉืœ ืฆื•ืจื•ืช ืฆื‘ืขื•ื ื™ื•ืช ื–ื–ื•ืช,
00:23
in which words and names fill your mouth
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ื‘ื• ืžื™ืœื™ื ื•ืฉืžื•ืช ืžืžืœืื™ื ืืช ืคื™ื›ื
00:25
with unusual flavors.
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ื‘ื˜ืขืžื™ื ืžื•ื–ืจื™ื.
00:27
Jail tastes like cold, hard bacon
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ืœื‘ื™ืช ื›ืœื ื™ืฉ ื˜ืขื ืฉืœ ื‘ื™ื™ืงื•ืŸ ืงืจ ื•ืงืฉื”
00:30
while Derek tastes like earwax.
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ื‘ืขื•ื“ ืฉืœื“ืจืง ื™ืฉ ื˜ืขื ืฉืœ ืฉืขื•ื•ืช ืื•ื–ื ื™ื™ื.
00:34
Welcome to synesthesia,
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ื‘ืจื•ื›ื™ื ื”ื‘ืื™ื ืœืกื™ื ืกืชื–ื™ื”,
00:35
the neurological phenomenon
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ื”ืชื•ืคืขื” ื”ื ื•ื™ืจื•ืœื•ื’ื™ืช
00:37
that couples two or more senses in 4% of the population.
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ืฉืžื—ื‘ืจืช ืฉื ื™ ื—ื•ืฉื™ื ืื• ื™ื•ืชืจ ื‘ 4% ืžื”ืื•ื›ืœื•ืกื™ื”.
00:41
A synesthete might not only hear my voice,
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ืื“ื ืขื ืกื™ื ืกืชื–ื™ื” ืื•ืœื™ ืœื ืจืง ื™ืฉืžืข ืืช ืงื•ืœื™,
00:43
but also see it,
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ืืœื ื’ื ื™ืจืื” ืื•ืชื•,
00:44
taste it,
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00:44
or feel it as a physical touch.
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ื™ื˜ืขื ืื•ืชื•,
ืื• ื™ืจื’ื™ืฉ ืื•ืชื• ื›ืžื’ืข ืคื™ืกื™.
00:48
Sharing the same root with anesthesia,
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ื—ื•ืœืงืช ืืช ืื•ืชื• ืฉื•ืจืฉ ืขื ืื ืกืชื–ื™ื”,
00:51
meaning no sensation,
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ืฉืžืฉืžืขื” ื—ื•ืกืจ ืชื—ื•ืฉื”,
00:52
synesthesia means joined sensation.
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ืกื™ื ืกืชื–ื™ื” ืžืฉืžืขื” ื—ื™ื‘ื•ืจ ื—ื•ืฉื™ื.
00:55
Having one type, such as colored hearing,
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ื›ืฉื™ืฉ ืกื•ื’ ืื—ื“, ื›ืžื• ืฉืžื™ืขืช ืฆื‘ืขื™ื,
00:57
gives you a 50% chance of having a second,
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ื™ืฉ ืœื ื• 50% ืกื™ื›ื•ื™ ืฉื™ื”ื™ื” ืœื ื• ืกื•ื’ ืฉื ื™,
00:59
third,
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ืฉืœื™ืฉื™,
01:00
or fourth type.
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ืื• ืจื‘ื™ืขื™.
01:03
One in 90 among us experience graphemes,
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ืื—ื“ ืž 90 ืžืื™ืชื ื• ื—ื•ื•ื” ื’ืจืคืžื™ื,
01:06
the written elements of language,
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ื”ืืœืžื ื˜ ื”ื›ืชื•ื‘ ืฉืœ ื”ืฉืคื”,
01:08
like letters,
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01:08
numerals,
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ื›ืžื• ืื•ืชื™ื•ืช,
ืžืกืคืจื™ื,
01:09
and punctuation marks,
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ื•ืกื™ืžื ื™ ืคื™ืกื•ืง,
01:10
as saturated with color.
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ื›ืžืœืื™ื ื‘ืฆื‘ืข.
01:12
Some even have gender or personality.
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ืœื›ืžื” ืืคื™ืœื• ื™ืฉ ืžื’ื“ืจ ืื• ืื™ืฉื™ื•ืช.
01:15
For Gail, 3 is athletic and sporty,
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ืขื‘ื•ืจ ื’ื™ื™ืœ, 3 ื”ื•ื ืืชืœื˜ื™ ื•ืกืคื•ืจื˜ื™ื‘ื™,
01:19
9 is a vain, elitist girl.
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9 ื”ื™ื ื‘ื—ื•ืจื” ืฉื—ืฆื ื™ืช ื•ืืœื™ื˜ื™ืกื˜ื™ืช.
01:22
By contrast, the sound units of language,
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ื‘ื ื™ื’ื•ื“ ืœื–ื”, ืฆืœื™ืœื™ ื™ื—ื™ื“ื•ืช ื”ืฉืคื”,
01:24
or phonemes,
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ืื• ืคื•ื ืžื•ืช,
01:25
trigger synestetic tastes.
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ืžืขื•ืจืจื™ื ื˜ืขืžื™ื ืกื™ื ืกืชื–ื™ื™ื.
01:27
For James, college tastes like sausage,
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ืืฆืœ ื’'ื™ื™ืžืก, ืœืงื•ืœื’' ื™ืฉ ื˜ืขื ืฉืœ ื ืงื ื™ืงื™ื”,
01:30
as does message and similar words
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ื›ืžื• ืœืžื™ืœื” ื”ื•ื“ืขื” (ื‘ืื ื’ืœื™ืช) ื•ืžื™ืœื™ื ื“ื•ืžื•ืช
01:32
with the -age ending.
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ืขื ืกื™ื•ืžืช ืื™ื™ื’' .
01:35
Synesthesia is a trait, like having blue eyes,
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ืกื™ื ืกืชื–ื™ื” ื”ื™ื ืชื›ื•ื ื”, ื›ืžื• ืขื™ื ื™ื™ื ื›ื—ื•ืœื•ืช,
01:38
rather than a disorder
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ื•ืœื ื”ืคืจืขื”
01:40
because there's nothing wrong.
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ืžืคื ื™ ืฉืื™ืŸ ืฉื•ื ื“ื‘ืจ ืชืงื•ืœ.
01:41
In fact, all the extra hooks
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ืœืžืขืฉื”, ื›ืœ ื”ื—ื™ื‘ื•ืจื™ื ื”ื ื•ืกืคื™ื
01:43
endow synesthetes with superior memories.
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ืžืขื ื™ืงื™ื ืœืกื™ื ืกืชื–ื™ื ื–ื™ื›ืจื•ืŸ ื˜ื•ื‘ ื™ื•ืชืจ.
01:45
For example, a girl runs into someone she met long ago.
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ืœื“ื•ื’ืžื”, ื‘ื—ื•ืจื” ืคื•ื’ืฉืช ืžื™ืฉื”ื• ืฉื”ื™ื ืคื’ืฉื” ืœืคื ื™ ื–ืžืŸ ืจื‘.
01:49
"Let's see, she had a green name.
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"ื‘ื•ืื• ื ืจืื”, ื”ื™ื” ืœื” ืฉื ื™ืจื•ืง.
01:51
D's are green:
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ื”ืื•ืช D ื”ื™ื ื™ืจื•ืงื”:
01:52
Debra,
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01:52
Darby,
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ื“ื‘ืจื”,
ื“ืจื‘ื™,
01:53
Dorothy,
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01:53
Denise.
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ื“ื•ืจื•ืชื™,
ื“ื ื™ื–.
01:54
Yes! Her name is Denise!"
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ื›ืŸ! ื”ืฉื ืฉืœื” ื”ื•ื ื“ื ื™ื–!"
01:56
Once established in childhood,
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ื‘ืจื’ืข ืฉื”ื•ืคื™ืขื• ื‘ื™ืœื“ื•ืช,
01:58
pairings remain fixed for life.
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ื”ื—ื™ื‘ื•ืจื™ื ื ืฉืืจื™ื ืžืงื•ื‘ืขื™ื ืœื—ื™ื™ื.
02:00
Synesthetes inherit a biological propensity
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ืื ืฉื™ื ืขื ืกื™ื ืกืชื–ื™ื” ื™ื•ืจืฉื™ื ื ื˜ื™ื” ื‘ื™ื•ืœื•ื’ื™ืช
02:03
for hyperconnecting brain neurons,
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ืœื—ื™ื‘ื•ืจื™ื•ืช ื™ืชืจ ื‘ื™ืŸ ื ื™ื•ืจื•ื ื™ื ื‘ืžื•ื—,
02:05
but then must be exposed to cultural artifacts,
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ืื‘ืœ ืื– ื”ื ื—ื™ื™ื‘ื™ื ืœื”ื™ื•ืช ื—ืฉื•ืคื™ื ืœืคืจื™ื˜ื™ื ืชืจื‘ื•ืชื™ื™ื,
02:08
such as calendars,
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02:08
food names,
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ื›ืžื• ืœื•ื—ื•ืช ืฉื ื”,
ืฉืžื•ืช ืื•ื›ืœ,
02:09
and alphabets.
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ื•ืืœืฃ ื‘ื™ืชื™ื.
02:11
The amazing thing is that a single nucleotide change
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ื”ื“ื‘ืจ ื”ืžื“ื”ื™ื ื”ื•ื ืฉื ื•ืงืœืื•ื˜ื™ื“ ื‘ื•ื“ื“ ืžืฉืชื ื”
02:13
in the sequence of one's DNA alters perception.
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ื‘ืจืฆืฃ ื”ื“.ื .ื. ื‘ืื“ื ืฉืžืฉื ื” ืืช ื”ืชืคื™ืกื”.
02:17
In this way, synesthesia provides a path
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ื‘ื“ืจืš ื–ื•, ืกื™ื ืกืชื–ื™ื” ืžืกืคืงืช ื“ืจืš
02:19
to understanding subjective differences,
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ืœื”ื‘ื ื” ืฉืœ ื”ื‘ื“ืœื™ื ืกื•ื‘ื™ื™ืงื˜ื™ื‘ื™ื™ื,
02:22
how two people can see the same thing differently.
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ืื™ืš ืฉื ื™ ืื ืฉื™ื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืืช ืื•ืชื• ื”ื“ื‘ืจ ืื—ืจืช.
02:25
Take Sean, who prefers blue tasting food,
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ืงื—ื• ืืช ืฉื•ืŸ, ืฉืžืขื“ื™ืฃ ืื•ื›ืœ ื‘ื˜ืขื ื›ื—ื•ืœ,
02:27
such as milk, oranges, and spinach.
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ื›ืžื• ื—ืœื‘, ืชืคื•ื–ื™ื, ื•ืชืจื“.
02:30
The gene heightens normally occurring connections
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ื”ื’ืŸ ืžื’ื‘ื™ืจ ื—ื™ื‘ื•ืจื™ื ืฉืงื•ืจื™ื ื‘ืื•ืคืŸ ื˜ื‘ืขื™
02:32
between the taste area in his frontal lobe
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ื‘ื™ืŸ ืื–ื•ืจ ื”ื˜ืขื ื‘ืื•ื ื” ื”ืงื“ืžื™ืช
02:34
and the color area further back.
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ื•ืื–ื•ืจ ื”ืฆื‘ืข ื‘ื—ืœืง ืื—ื•ืจื™ ื™ื•ืชืจ.
02:37
But suppose in someone else
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ืื‘ืœ ื ื ื™ื— ืฉืืฆืœ ืžื™ืฉื”ื• ืื—ืจ
02:39
that the gene acted in non-sensory areas.
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ืฉื”ื’ืŸ ืคืขืœ ืขืœ ืื–ื•ืจื™ื ืœื ื—ื•ืฉื™ื™ื.
02:41
You would then have the ability to link
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ื”ื™ืชื” ืœื›ื ืื– ื”ื™ื›ื•ืœืช ืœืงืฉืจ
02:43
seemingly unrelated things,
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ื‘ื™ืŸ ื“ื‘ืจื™ื ืฉืœื›ืื•ืจื” ืœื ืงืฉื•ืจื™ื,
02:45
which is the definition of metaphor,
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ืฉื–ื• ื”ื”ื’ื“ืจื” ืœืžื˜ืืคื•ืจื”,
02:47
seeing the similar in the dissimilar.
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ืœืจืื•ืช ืืช ื”ื“ื•ืžื” ื‘ืฉื•ื ื”.
02:50
Not surprisingly, synesthesia is more common
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ืœื ื‘ืžืคืชื™ืข, ืกื™ื ืกืชื–ื™ื” ื”ื™ื ื™ื•ืชืจ ื ืคื•ืฆื”
02:52
in artists who excel at making metaphors,
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ืืฆืœ ืื•ืžื ื™ื ืฉืžืชืžื—ื™ื ื‘ื™ืฆื™ืจืช ืžื˜ืืคื•ืจื•ืช,
02:55
like novelist Vladimir Nabokov,
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ื›ืžื• ื”ื ื•ื‘ืœื™ืกื˜ ื•ืœื“ื™ืžื™ืจ ื ื•ื‘ื•ืงื•ื‘,
02:57
painter David Hockney,
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ื”ืฆื™ื™ืจ ื“ื™ื™ื•ื™ื“ ื”ื•ืงื ื™,
02:59
and composers Billy Joel
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ื”ืžืœื—ื™ื ื™ื ื‘ื™ืœื™ ื’'ื•ืืœ
03:00
and Lady Gaga.
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ื•ืœื™ื™ื“ื™ ื’ืื’ื.
03:04
But why do the rest of us non-synesthetes
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ืื‘ืœ ืœืžื” ื”ืฉืืจ ืžื‘ื™ื ื™ื ื• ื ื˜ื•ืœื™ ื”ืกื™ื ืกืชื–ื™ื”
03:06
understand metaphors like "sharp cheese"
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ืžื‘ื™ื ื™ื ืžื˜ืืคื•ืจื•ืช ื›ืžื• "ื’ื‘ื™ื ื” ื—ืจื™ืคื”" ("ื—ื“ื”" ื‘ืื ื’ืœื™ืช)
03:08
or "sweet person"?
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ืื• "ืื“ื ืžืชื•ืง"?
03:10
It so happens that sight,
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ืžืกืชื‘ืจ ืฉืจืื™ื”,
03:12
sound,
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03:12
and movement
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03:12
already map to one another so closely,
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ืฉืžื™ืขื”,
ื•ืชื ื•ืขื”
ื›ื‘ืจ ืžืžื•ืคื™ื ืื—ื“ ืœืฉื ื™ ื‘ืฆืžื™ื“ื•ืช ื›ื–ื•,
03:15
that even bad ventriloquists convince us
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ืฉืืคื™ืœื• ืคื™ืชื•ืžื™ื ื’ืจื•ืขื™ื ืžืฉื›ื ืขื™ื ืื•ืชื ื•
03:17
that the dummy is talking.
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ืฉื”ื‘ื•ื‘ื” ืžื“ื‘ืจืช.
03:19
Movies, likewise, can convince us
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ืกืจื˜ื™ื, ื’ื ื›ืŸ, ื™ื›ื•ืœื™ื ืœืฉื›ื ืข ืื•ืชื ื•
03:21
that the sound is coming from the actors' mouths
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ืฉืฆืœื™ืœื™ื ื‘ืื™ื ืžืคื™ ื”ืฉื—ืงืŸ
03:23
rather than surrounding speakers.
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ื•ืœื ืžื”ืจืžืงื•ืœื™ื ื”ืžืงื™ืคื™ื.
03:25
So, inwardly, we're all synesthetes,
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ืื–, ืคื ื™ืžื”, ื›ื•ืœื ื• ืกื™ื ืกืชื–ื™ื,
03:28
outwardly unaware of the perceptual couplings
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ื•ืœื ืžื•ื“ืขื™ื ื”ื—ื•ืฆื” ืœื—ื™ื‘ื•ืจื™ื ื”ืชืคื™ืกืชื™ื™ื
03:30
happening all the time.
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ืฉืงื•ืจื™ื ื›ืœ ื”ื–ืžืŸ.
03:32
Cross-talk in the brain is the rule,
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ืฉื™ื—ื•ืช ืžื•ืฆืœื‘ื•ืช ื‘ืžื•ื— ื”ืŸ ื”ื—ื•ืง,
03:34
not the exception.
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ืœื ื”ื—ืจื™ื’ื”.
03:37
And that sounds like a sweet deal to me!
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ื•ื–ื” ื ืฉืžืข ืœื™ ื›ืžื• ืขืกืงื” ืžืชื•ืงื”!
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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